Drama and Theatre Studies

2BA PS Student Handbook

2019-2020

This handbook contains an overview of your modules for Second Year in Drama and Theatre Studies. For information on the following general Drama and Theatre Studies policies and guidelines, please refer to the undergraduate student handbook which contains the following information:

1. About Drama at NUI Galway 2. Staff Contacts and office hours 3. Communications 4. Feedback and evaluation 5. Modules and Structure: GY118 6. Modules and Structure: GY115 7. Credits and Workload 8. Conduct in class 9. Punctuality and Attendance 10. Extensions, Repeats and Deferrals 11. Student support services. 12. Student code of conduct. 13. Extra-curricular activity 14. Studying Abroad 15. Internships 16. Theatre outings 17. Use of Blackboard 18. Research Resources 19. Plagiarism 20. Marking Criteria for written work 21. Marking criteria for performances 22. Writing an Academic Essay 23. Common Errors in Grammar, Style, Punctuation. 24. MLA style 25. Calendar 2019/2020

Who to contact Head of Second Year is Ian Walsh (ian.walsh@nuigalway.ie) Second Year

9 September 1pm – 2BA DTP introduction, CR 1

Important Dates and Events 9th September–2BA PS Intro meeting -1pm – CR1 12th and 13th September- Campus premiere of Active Consent Programme’s The Kinds of Sex You Might Have At College, (12th at 5PM, 13th at 1PM and 5PM, O’Donoghue Theatre) Week of 30th September-4th October- Class Rep Meeting #1 26th September-13th October- Dublin Theatre Festival

9th October - Third Year Placements meeting 3-4pm 9th-19th October- Moonfish Theatre’s Redemption Falls in performance at the Abbey involving Máiréad Ní Chróinín, Druid Artist in Residence 24th October-Theatre Archives Symposium 28th October – Bank Holiday - No classes Week of 4th November- Class Rep Meeting #2 5th-10th November- Melinda Szuts PhD PaR Presentation, The Dreaming of the Bones- ODT 30th November- End of Teaching- Semester 1 2nd-7th December –Study week 8th and 9th December- “Devised Work in Minority Languages” Conference- National Theatre of Scotland (part of Garraí an Ghiorria) 16th December – Deadline for submission of all UG Assessment (individual deadlines set for each module, refer to outline) 22nd December – Christmas Holidays begin 13th January – Teaching Semester 2 Begins Week of 20th January – Class Rep Meeting #3 1st-7th February- GUMS Musical 8th-14th February- Theatre Week- Societies 8th-22nd March-Third Year Production Load-in, Tech/Dress and Performance- ODT inclusive

• Third Year Production Performance Dates: 19-22 March (8PM, 2PM on 22 March)

• Strike 22 March Week of 9th March – Class Rep Meetings 17th March- Bank Holiday-St. Patrick’s Day 19th March- “Staging the Incarcerated Female Body: Records and Representations”- Feminist Storytelling Network Event- Miriam Haughton 23 March-9 April- Advanced Theatre and Performance Lab-ODT inclusive

• Closed showings of Advanced Theatre in theatre weeks of 23 and 30 March as needed.

• Performance Lab tech- Monday 6 April-Wednesday 8 April-9AM-5PM

• Public showing of Performance Lab works in progress, Thursday 9 April, 6PM

End of March- GIAF SELECTED! applications due First week of April- GIAF SELECTED! decisions given 3rd April – end of teaching 10th-13th April- Easter Holidays 14th-15th April- ‘“Glorious Outsiders”: Queer Pasts and Futures in Irish Performance,’ organised by Zsuzsanna Balázs (DTS), Temmuz Süreyya Gürbüz, Daniela Toulemonde 14-20th April- Study Week

1st May - Deadline for submission of all UG and PG Assignments (individual deadlines set by all instructors) 4th May – Bank Holiday Early-mid May- Galway Theatre Festival 14th-17th June- Theatre Forum Conference/IETM Plenary Meeting- ODT- to be confirmed 13-17 July- International Federation for the Theatre Research Conference- Galway 5th August- Repeat Exams held 15th August- All full-year module and general student handbooks released to incoming Semester 1 All students choose ONE module from the list below:

• DT2108: Voice and Shakespeare • DT204: Playwriting • DT2112: Practice and Exploration of Creative Arts

Please note that you may not be able to take your desired optional module if it clashes with the time of a lecture in your other subject or if the module is oversubscribed. TIMETABLE SEMESTER 1

DT2108: Voice and Shakespeare Max Hafler Wednesday

12-2 STUDIO 1

DT204 Playwriting

Catherine Morris

Wednesday 12-1 Friday 12-1

Studio 2 CR 1

DT2112 Practice and Exploration of Creative Arts

Mary McPartlan & Barry Houlihan

Wednesday 1-2 Wednesday 2-3

ODC Studio 3

Semester 2 In the second semester, all students choose ONE module from the list below:

• DT3101 Dance and Movement • DT208 Introduction to Directing

• DT2113 The Practice and Exploration of Creative Arts

Please note that you may not be able to take your desired optional module if it clashes with the time of a lecture in your other subject or if the module is oversubscribed.

TIMETABLE SEMESTER 2

DT3101 Dance and Movement Rachel Parry

Wednesday 12-2

STUDIO 1

DT208 Introduction to Directing

Melinda Szuts

Wednesday 12-1 Friday 12-1

Studio 2 Studio 1

DT2113 The Practice and Exploration of Creative Arts

Mary McPartlan & Barry Houlihan

Wednesday 1-2 Wednesday 2-3

ODC Studio 3

SEMESTER 1

OPTIONS OPTION 1 DT2108 VOICE AND SHAKESPEARE COURSE TUTOR: MAX HAFLER WEDNESDAY 12-2, Studio 1 Module Description The student will receive fundamental practical training in Voice for Acting and how to put it into practice. Freeing your own voice and tapping into its power requires both technical understanding and imaginative work. It is essential for an actor, but also other areas, like teaching. Breathing, diction, resonance, expression and projection will be amongst the areas covered. Students will be expected to do short periods of practise between sessions and deliver brief 150 word journals each week. We will be working with Shakespeare's A MIDSUMMER NIGHT’S DREAM. Work will focus on the role of language in Shakespeare, story and imagery; how language informs acting; and explore through discussion and exercises how the very buildings

and audiences had a fundamental effect on why the plays were written as they were. We will work with monologues and short scenes. The student will perform a 25 line piece for class from the play and at the end write a journal of 1000 words describing their progress through the course. · Learning Outcomes

1. The student will have learned to breathe diaphragmatically and hopefully be able to incorporate it at some level into their acting

2. She will have explored the whole range of components: diction/resonance/ projection and understand the link between the ability to perform and the importance of voice.

3. She will have understood and experienced something of the connection between body/voice and imagination in order to create whole powerful and mature performance.

4. She will have understood the link between theatre/audience and actor in Shakespeare's theatre and something of why the plays were written as they were, through study and practise of A MIDSUMMER NIGHT’S DREAM

5. She will have learned something about the issues of performing Shakespeare through hands-on practise.

· Required Texts (core) TEACHING VOICE by Max Hafler [Nick Hern Books 2016] (several copies available in library) A MIDSUMMER NIGHTS DREAM Shakespeare [Arden edition; available in library and on Drama Online] EVOKING (AND FORGETTING) SHAKESPEARE (1998) by Peter Brook. London. Nick Hern Books · Assessment (Modes, Breakdown of Marks) Development/ involvement and progress. Meeting learning assignments and the weekly ‘entries’. 50% There will be a presentation at the last class, with each student performing a monologue of 25 lines duration to the class from the play. 25% A short self assessment of 1000 words is required based upon the weekly entries, focussing on their personal learning and development. 25% · Class Outline [subject to flexibility] CLASS ONE : physical warm up. introduction to basic relaxation and breathing work (fuel for the voice) diction, resonance, projection. Looking at the imaginative and physical response to words and language. Using a few lines of A Midsummer Nights Dream. CLASS TWO: physical warm up. development of the above; singing, and primarily projection and resonance. Connecting the voice to the body and imagination. Radiating receiving.

CLASS THREE: physical warm up, vocal qualities (Chekhov). Body/voice exploration. Placing the Voice. Talk, discussion : Shakespeare’s plays and the theatres in which they were performed. CLASS FOUR: Physical warm up. Work on 8 line soliloquy of a character. The issue of emphasis / breath /radiating . Working in chorus. Working on the 8 line speech. CLASS FIVE: regular practise . More work on 8 lines , colours and phrasing. Pitch and Tone. Midsummer - the different socio economic groups/worlds and how they needed to be catered for and how it affected the play writing . CLASS SIX: regular practise. Further development of breathing, diction etc. Working with the audience. Exercises in backwards and forward energy. The Power of The Pause. CLASS SEVEN: regular practise working with rhythm. The rhythm of regular speech developing soundscape, and pace. Through voice and bodywork, the emotional Journey of the chosen speeches. Rehearsing monologues . CLASS EIGHT. Regular practise. Working on very short scenes in pairs. Listening/Radiating/receiving. CLASS NINE . as above CLASS TEN Regular work. Exercises in tone and pause. Rehearsing monologues CLASS ELEVEN. Regular work. Rehearsing monologues. CLASS TWELVE: presentation of 25 line monologues and feedback. Delivery of journal. · Secondary and Further Reading List Berry, Cicely (1973) VOICE AND THE ACTOR London: Virgin Publishing OPTION 2: DT204 Introduction to Playwriting Dr Catherine Morris Wednesdays 12-1 Studio 2; Fridays 12-1 Classroom 1 Overview: The aim of this course is to discover your playwriting voice: what is your style, what are your concerns as a writer? We will find your subject and medium of choice – whether for radio, gallery instillation, stage, live, pre-recorded or hybrid. Each seminar will enable discussion, writing and reading aloud. What do you need to write a play? How do you begin? How do you create a first draft? What happens after it is written? How do you re-draft and edit your work? Together we will create a bibliography and a methodology. We will reflect on different models of plays and of playwriting; we will explore themes and social context; story, plot, voice and character. From Greek Tragedy to the plays of the Spanish Civil War; from ancient Irish oral performance theatre to Becket’s Not I; the archives show us the extent and variety of playwriting. In writing plays we can bring in music, dance, draw on other performance arts such as mask, mime, documentary, tableaux. A play can be dialogue, monologue; it can use technological media to convey time: memory and story unfold through technology in Krapp’s Last Tape, for instance. This module will explore how as a playwright you can create a drama that consists of hours of multiple acts and scenes that unfold on a stage with an epic cast or write a singular short

performance piece that unfolds in multiple locations across a city. You are all encouraged to read, listen and to watch as many plays and performance pieces as you can from as many different genres. Our bibliography will be a live document constantly in process: we will learn from each other and collectively create learning tools from our pooled experience of research, writing and practice. The important thing is to do what Joyce Carol Oates urges all writers to do: “write your heart out.” Learning Outcomes: By the end of this course, you should:

• Have developed an understanding of the basic elements of playwriting • Have a small portfolio of your own experiments with these elements,

including your own one-act play • Be able to analyse the structure of a play as a piece of dramatic literature, and

offer constructive critical feedback on plays • Be able to plan and structure your own original play

Assessment:

• Midterm Assessment Critical Reflection Essay: 40% Total (submission date: 21 October 5pm) This essay should be 1,000 words in length and will be an opportunity to examine critically your class writing assignments that you will upload to blackboard throughout the course. These individual pieces will not be formerly assessed but will form the backbone to your writing process, class participation and critical self reflection.

• Final Playscript: 60% Total (submission date: 16 December) This is your final project; a one-act play (around 20 minutes duration, 30 page approx) on a topic and in a style of your choice, selected in consultation with the course tutor. You will share a pitch for this in class and upload the final draft to Blackboard by TBC.

Task for each week – keep writing outside of class documenting your ideas, developing your own play, noting your observations, the plays that you are reading and seeing: each week we will read aloud something from our notebooks. Week 1 (11 & 13 September) The Notebook – Read, Watch, Listen, Write: In this session we will get to know each other a little; hear about our different experiences of writing and of plays. Everyone taking the module is encouraged to carry a notebook at all times and to keep writing ideas for characters, situations, dialogue, monologues; stage directions for scenes and ideas for acts. This notebook is also essential for documenting your reading and watching plays. Every week we will begin with a short ‘Notes from the Notebook’ session in which we can reflect on and share some aspect (challenges & breakthroughs) of our playwriting journey. In this session we will explore how social media and digital technology used ethically and with permissions may form a part of their practice as playwrights. For instance, how can using video or oral recordings of story-telling, conversation, capturing dialect, character, spaces for scenes and situations can assist your craft. TO DO: Bring your notebook and a found object (or an image or photograph of an object) or a press cutting: something that holds resonance for you as a writer and that

you are happy to share with the group. This will form the basis for our writing workshop. Week 2 (18 & 20 September) Finding your voice Irish writer Maeve Brennon (1917-1993) wrote to her editor at the New Yorker: “I’m looking for the voice in which I can say anything.” In our workshop session we will explore how to find voice. As a group we will identify our collective and individual skills; learn what our individual key concerns and interests are and how they can be communicated in or through drama. In this writing workshop we will begin writing with a 15 minute monologue exercise followed by reading aloud and analysis. Week 3 (25 & 27 September) Research: As a playwright you have responsibility to your characters and to the world you create. A character only has dignity if the world in which they exist has conviction. An actor has to perform your script – so their language has to be authentic to the time they are ‘speaking’; the world of your play has to convince the audience and the performer(s) that they share the same moment. Research is a vital tool in any writer’s repertoire. Carol Churchill’s Light Shining in Buckinghamshire (1976) would have been impossible to write without significant research into the Putney Debates of 1646, Cromwell and the Levellers. We will explore the different modes of research you will need to write your play. Whether you are writing a character in a historical moment or depicting the internal world of an individual, we will develop ways in which to relate the condition or experience of that character or situation. Your subject might require investigation into a certain kind of science, an art form, a historical moment. In using archive we will also learn the value of documenting our own creative journey in progress. What does archive mean? How do you make your own archive for your play? You have a chance as your writing is quickening to equip your archive with details that enrich your vocabulary as a writer and the world of your characters. Be prepared to get out and about to do a live in-situ Galway research workshop. Once we return to the seminar room we will write a script based on the archive material we bring back to the table. Week 4 (2 & 4 October) Archive & Craft of Writing In this session we will visit and engage with the rare theatre archives that you have unique access to as postgraduate students at NUI Galway. Some of the greatest playwrights, directors, actors, theatre practitioners of our time have deposited their archives with this library. As writers you can explore how other playwrights such as Thomas Kilroy wrote (and re-wrote) versions of his award winning plays for stage, screen and radio. You can see the way in which novels are adapted by playwrights for the stage. John McGahern, for example, revisits his radio adaptation of a Tolstoy story for three decades making new interventions and changes. You can visit the archives and watch internationally acclaimed award winning dramas. You can study the stage craft and writing processes behind plays devised and performed at Irish theatres including the Abbey, Lyric, Druid and the Gate. The second part of this seminar will be a writing workshop: each student will step into character from a book; you will each write a short piece in character about something you encounter in the archive Week 5: (9 & 11 October)

Time Theatre is a durational art. Language is a time based media. Lighting, stage, sound: the way people walk, the way we pace a scene. We will examine how as a playwright you put a metronome to your play. Scripts cause the voice to work in certain ways. How old is a character? From what point in time are they speaking? When you work in radio or TV and are writing plays for multi-media platforms, then time takes on different liberations and constraints for each of those media. We will discuss the tangled geometry of how time unfolds and works in a play’s structure and in dialogue. In a writing workshop you will take a voice from a play and write it from another time perspective. Week 6 (16 & 18 October) Plays to change the world In this session we will discuss why some plays become catalysts of social, political and legislative change? We will explore how some playwrights create work that opens up a sense of new possibility for playwriting and for the world? Ken Loach’s Up the Junction was a 1965 TV play that had an audience of 10m viewers and received over half a million complaints. It led to the 1967 Abortion Act that changed the reproductive rights for women in the UK (excluding NI and Scotland). Patricia Burke Brogan’s 1992 play Eclipsed gave Irish and international audiences the first shocking view into the Magdalene Laundries. Eugene O’Neill’s Long Days Journey into Night and Arthur Miller’s Death of A Salesman opened a new wave of American Realism that put the concerns of family into a new realm of recognisable language and gave place to the ordinary and the mundane in staging. Each student will write and choose a political situation and a play form: you have 20 minutes to write a plot for a one act play in which the object / image / cutting you have brought along features as the catalyst for an event. Week 7 (23 & 25 October) Collectivism In this session we will not only look at examples of collectivist playwriting; but we will collectively produce a script. Between 1995 to 1998, the Liverpool playwright Jimmy McGovern and Scottish novelist Irvine Welsh set up a collective writing group formed of the sacked dock workers and ‘the women of the waterfront’ solidarity organisation. Together they wrote a script (reworked as a screen play for Channel 4) based on what was happening to them on a daily basis during the dispute. Using Dockers as a case study, we will consider methodologies and subjects for collectivist playwriting. Other examples that we will discuss include Fugard’s The Coat: a play co-written and devised a piece of collectivist theatre. Peter Brooke’s Paris Collective and Corn Exchange’s collaborative script writing approach to Dublin by Lamplight. We will put into practice what we have learned: What is the catalyst in a self organising process? We will create two groups and each group will write a play to workshop. Collectively we will talk about the process of writing. Where does your voice go? Or does it appear as the groups voice emerges? Week 8 (30 Oct & 1 November) Radio Radio gives us voices in the dark: in this session we will think about the different fusion of experiences that radio can bring to the art of playwriting. How does the audible world develop around and within character? Radio is swift to produce: how do you devise story for a particular play format and experience of sound? How do you set the environmental conditions of voice? What acoustic parameters do you have to consider? We will learn how to work to strict times and to know how radio

plays can be at their best in achieving something musical in pace, rhythm, voice. In our workshop we will write a short scene for a six minute radio play using sound recorders (mobile phones and other equipment) to create the sound and atmosphere of the script. Week 9 (6 & 8 November) Next steps Virginia Woolf highlighted how class, inequality and human rights determine whose stories are told on stage and who gets to tell them: “Shakespeare’s plays… seem to hang there complete by themselves. But when the web is pulled askew, hooked up at the edge, torn in the middle, one remembers that these webs are not spun in mid-air by incorporeal creatures, but are the work of suffering human beings, and are attached to grossly material things, like health and money and the houses we live in...” How do you find out about competitions and funding not only to write your next play but also to lift your work out of your notebook and onto the stage and/ or into publication? While writing a play can be a lonely process, theatre is a social art: when you finish writing a play you will want to begin engaging with producers, associate directors, agents, actors, editors, publishers and social media. How do script departments forge strong relationships with writers, to help them produce their best work? How do you make contacts? In this session, we will each learn how our practice as a playwright can lead to publication and performance. Week 10 (13 & 15 November) Writing workshop Week 11 (20 & 22 November) First draft play readings and feedback. WK 12: (27 & 29 November) Second Draft Script Doctoring OPTION 3: DT2112: The Practice and Exploration of the Creative Arts Module Creator: Mary McPartlan Co-Convenors Mary McPartlan and Dr. Barry Houlihan The Module Description: This 12-week module will offer students a distinctive and exciting opportunity to access the creative arts through a series of lunchtime concerts featuring world-class performers in an array of multi-disciplinary art forms. The concert sessions will be followed by focuses talks, workshops, and lectures with guest artists and expert academic and archival staff. Students will experience national and international culture, engage with artists, form exclusive and informed critical insights from the creative presentations and receive hands-on instruction in how creative arts are researched, designed, and produced. Students will be supported by teaching and skills development in archival research in the creative arts with workshops and talks on unique collections from the Archives of the Hardiman Library, from the Archives of Druid Theatre, Jean Ritchie, The Abbey Theatre, Tim Robinson, Etienne Rynne and more. Accomplished, professional visiting guest artists will collaborate in this offering to the students, to create a varied course of enquiry, fostering an environment where unique and original talent can emerge and flourish among students.

Each week contact hours shall consist of two components: A. On a weekly basis the student shall compulsorily attend the programmed Arts in Action event, presented on that assigned day. This will be a 1-hour long performance. B. This will be followed immediately by the second hour of the lecture where students will meet with visiting artists, practitioners, and also conduct archival workshops. The second hour will take place in O'Donoghue Centre Seminar Room 1 (Studio 1) or to the Archives Seminar Room, Hardiman Library, Room 004. Students will be notified in advance each week of the correct venue. Learning Outcomes: On successful completion of this module, each student will be able to:

• Develop skills in creative self-development and disparate intellectual and artist interests

• Demonstrate proficiency in critical analysis of several artsfroms in written, oral format and presentation.

• Approach their own specific line of enquiry with creativity and rigour, via creative writing, theatre and playwriting, Music appreciation, Creativity - the Irish Language and its culture, (Music, Song, Poetry and Prose), History and Geography in relation to the landscape of Irish Culture.

Assessment: There are two component/ assignments for assessment

• A weekly reflective journal of not more than 500 words • A final essay of 1,000 words

You will complete 10 reflective reviews. (There are 13 Arts in Action Events in S1) The Essay and the completed Journals will be submitted on or before Friday December 6th 2019 at 5pm. Assessment of 100% 60% of total mark will be awarded for the reflective scholarly journal 40% of the total mark will be awarded for the essay of 1,000 words. Mary Mc Partlan Contact Details and Office Hours for enquiries and discussion Mary.mcpartlan@nuigalway.ie Tuesday morning 10am-12pm. Room 313, Floor 1, Tower Block 1. Dr. Barry Houlihan, Tuesday afternoon, 2.30-4.30pm THB-G005f (Archives Reading Room)

Week by Week Pre-Week 1 - Introductory Session Venue: Meet in Foyer of James Hardiman Library (next to video wall) Date: Tuesday 10th September 4pm. Week 1: 11 September Hour 1 Jean Ritchie Lecture delivered by Christy Moore 1pm - 2pm (Venue: ODC) Hour 2 -Viewing of Jean Ritchie Archive (Venue: JHL) 2-3pm. Dr. Barry Houlihan Week 2: 18th September Hour 1: Welsh Traditional Band, AlAW (from Wales), Hour 2, guest lecture with the artist/ performers Venue: Seminar Room 1, O'Donoghue Centre. 2-3pm Week 3: 25 September Hour 1: Music for Galway - Classical Concert Performance by Patrick Rafter. Hour 2: Guest lecture by Anna Lardi, Music for Galway - "Producing Classical Music in Galway". Venue: ODC. 2-3pm Week 4: October 2 Hour 1 Concert: The Cormac McCarthy Jazz Trio from Cork. Followed by talk with the musicians "From Traditional Music to Contemporary Jazz in Ireland". Venue: ODC. 2-3pm Week 5: October 9 Hour 1 Concert: Centenary Celebration of the legendry piper and folk music collector Seamus Ennis With piper Peter Browne and Singer Roisin Elsafty Followed by guest lecture from Dr. Ríonach UÍ Ógáin.( The Seamus Ennis Field Diary and other stories) Venue: ODC. 2-3pm Week 6: October 16 Hour 1 Concert: English Folk Music, Lisa Knapps and Gerry Diver ( England) Hour 2 Guest lecture with Q&A by the performers. “Contemporary Folk Song in England” Venue1: ODC. 2-3pm Week 7: October 23 Hour 1 Performance: Traditional Irish fiddle by Martin Hayes Hour 2: Documenting Landscape guest lecture by Dr. Barry Houlihan Exploring Tim Robinson and Etienne Rynne Archives. Venue: JHL Week 8: October 30 Hour 1: Clarinet and Cello performance - Christopher Moriarity and Gabrielle Dikciute. Music For Galway. Hour 2: Guest Lecture by Mary McPartlan - Irish Traditional Music 1900 - 1970 Venue: Seminar Room ODC, 2pm – 3pm

Week 9: November 6 Hour 1: Scottish Traditional Music Performance from Chris Stout fiddle and Catriona McKay on Harp Hour 2: Guest lecture by the musicians on, The Music of the Shetland Islands. Venue: ODC. 2-3pm Week 10: November 13 Hour 1 Comedy: Actor, comedian, - Tommy Tiernan Hour 2: Guest lecture by Dr. Barry Houlihan Memory and Performance: How the Archive Remembers Venue: JHL.2pm – 3pm Week 10: November 13 (Two events for November 13) Tulca Festival of Visual Arts. 6pm. Meeting point: Quadrangle Archway (under the clock tower). Week 11: November 20 Celebration of the culture of the Aran Islands Featuring music, literature and Sean nós singing introduced by Poet Mary O Malley Hour 2: Q&A session in the theatre with the Artists, “Life and Culture on the Aran Islands” convened by Mary Mc Partlan, 2pm- 3pm Week 12: November Hour 1 Aoife Burke Cello, Chiara Opalio Piano, Eoin Ducrot Violin, Emily Anderson Hall. ( Music For Galway) Hour 2: Showing of the JM Syne Play “Riders to the Sea” at the James Hardiman Library Convened by Dr Barry Houlihan. 2pm -3pm

SEMESTER 2

OPTION MODULES SEMESTER 2

OPTION 1 Optional Module : Dance and Movement DT3101 (2019/2020) Wednesday 12-2pm, Studio 1. Tutor: Rachel Parry

Contact: r.parry2@nuigalway.ie

Course Overview This twelve-week module will investigate the influence of Western dance history on current Irish and international dance and choreographic practice. The course will begin

with an exploration of prominent dance practitioners and their ideas, and will culminate with students choreographing and performing their own short dance solo. Each class will comprise a basic dance technique class, a choreography lab, and group discussion of process and practice. This course is suitable for both beginners and students with some dance experience. No previous dance experience is required. Students should wear loose, comfortable clothing for class and be prepared to work barefoot. Learning Outcomes On completion of this module students will:

• be able to choreograph a short solo drawing on a variety of styles and choreographic approaches;

• have performed a short solo; • be able to place current Irish and international dance practice within theoretical

frameworks; • have a good working knowledge of dance vocabulary; • have reflected on and written about their own choreographic process; • have researched and written about an element of contemporary dance practice.

All course texts will be available to students at NUI Galway Reading Lists. Course Schedule Each week will begin with a 40-minute contemporary technique dance class. Week 1 Introduction to course and assessment. Ballet: 1500’s – present day

Choreography Lab: Linear and Non-linear narrative

Artists: Louis XlV (France); Jean-Georges Noverre (France); Vaslav Nijinski (Ballets Russes, Russia); Christopher Bruce (UK); Wayne McGregor (UK) Reading: Excerpts from Adshead-Lansdale, Janet and June Layson. Dance History: An Introduction. Routledge, 1994

Week 2 Modern Dance, 1890 – 1950

Choreography Lab: Abstraction and Expressionism

Artists: Isadora Duncan (US); Ted Shawn (US); Martha Graham (US); Mary Wigman (Germany); Merce Cunningham (US) Reading: Excerpts from Brown, Jean Morrison. The Vision of Modern Dance. Princeton, 1998

Week 3 Postmodern Dance: Judson Dance Theatre, 1962 – 1964

Choreography Lab: Chance techniques and non-narrative choreographic approaches Artists: Merce Cunningham (US); Trisha Brown (US); Yvonne Rainer (US); Steve Paxton (US) Reading: Excerpts from Banes, Sally. Terpsichore in Sneakers. Wesleyan University Press, 1980

Week 4 Contemporary Dance, 1964 – present day: including DanceTheatre, Physical Theatre

Choreography Lab: initiating movement material Artists: Pina Bausch (Germany); DV8 Physical Theatre (UK); Anne Teresa De Keersmaeker (Belgium); Lea Anderson (UK); Akram Khan (UK); Rosemary Butcher (UK) Reading: Excerpts from Butterworth, Joanne. Contemporary Choreography: A Critical Reader. Routledge, 2009;

Week 5 Dance in the Irish Context Choreography Lab: initiating movement material Artists: Fabulous Beast Dance Theatre (Ireland); Liz Roche Company (Ireland); Coiscéim (Ireland); ponydance (Ireland); Junk Ensemble (Ireland); John Scott Dance/Irish Modern Dance Theatre (Ireland) Reading: McGrath, Aoife. Dance Theatre in Ireland: Revolutionary Moves. Palgrave Macmillan, 2012; Mulrooney, Dierdre. Irish Moves. Liffey Press, 2006

Mid-term critical reflective journal assessment Week 6 Choreography Lab: initiating movement material

Reading: Humphrey, Doris. The Art of Making Dances. Dance Books, 1997

Week 7 Choreography Lab: developing material for a solo Reading: Dey, Misri. Making Solo Performance: Six Practitioner Interviews. Macmillan Publishers, 2018

Week 8 Choreography Lab: dance and sound.

First showing of solo choreographies (group1)

Reading: Dey, Misri. Making Solo Performance: Six Practitioner Interviews. Macmillan Publishers, 2018

Week 9 Choreography Lab: dance and sound. First showing of solo choreographies (group 2) Reading: Dey, Misri. Making Solo Performance: Six Practitioner Interviews. Macmillan Publishers, 2018

Week 10 Choreography Lab: studio time – solo development Week 11 Choreography Lab: final rehearsal of solo choreographies

Week 12 Assessment: final showing of solo choreographies Assessment and Grading

• 500-word mid-term critical refection journal 20% • 3-minute choreographed solo 35% • 1,250-word essay on an element of the module 45%

Required texts

• Adshead-Lansdale, Janet and June Layson. Dance History: An Introduction. Routledge, 1994

• Banes, Sally. Terpsichore in Sneakers. Wesleyan University Press, 1980 • McGrath, Aoife. Dance Theatre in Ireland: Revolutionary Moves. Palgrave

Macmillan, 2012 Further reading

• Albright, Ann Cooper. Choreographing Difference: The Body and Identity in Contemporary Dance. University Press of New England, 1997

• Banes, Sally. Democracy’s Body: Judson Dance Theatre, 1962 – 1964. UMI Research Press, 1993

• Blom, Lynne Anne. The Intimate Act of Choreography. Dance Books, 2010 • Brown, Jean Morrison. The Vision of Modern Dance. Princeton, 1998 • Burt, Ramsey. Judson Dance Theatre: Performative Traces. Routledge,

2006 • Butterworth, Joanne. Dance Studies: The Basics. Routledge, 2012 • Butterworth, Joanne. Contemporary Choreography: A Critical Reader.

Routledge, 2009

• Carter, Alexandra and Janet O'Shea. The Routledge Dance Studies Reader (Second Edition). Routledge, 2010

• Conroy, Collette. Theatre and the Body. Palgrave Macmillan, 2010 • Dey, Misri. Making Solo Performance: Six Practitioner Interviews.

Macmillan Publishers, 2018 • Humphrey, Doris. The Art of Making Dances. Dance Books, 1997 • Kloetzel, Melanie and Carolyn Pavlik. Site Dance: Choreographers and the

Lure of Alternative Spaces. University Press of Florida, 2011 • Kuppers, Petra. Disability Culture and Community Performance: Find a

Strange and Twisted Shape. Palgrave Macmillan, 2011 • Lepecki, Andre (Editor), Dance: Documents of Contemporary Art.

Whitechapel Gallery/ MIT Press, 2012 • Lepecki, Andre (Editor). Of the Presence of the Body: Essays on dance and

Performance Theory. Wesleyan University Press, 2004 • Mulrooney, Dierdre. Irish Moves. Liffey Press, 2006

OPTION 2

DT208: Directing for Theatre Course Outline 5 ECTS, Semester 2, 2019-20, Wednesdays, 12-1 (Studio 2) and Fridays, 12-1 (Studio 1) Convenor: Melinda Szuts This module explores the role(s) of the director throughout the twentieth and twenty-first centuries in making theatre and live performance through research-led practical workshops and seminars. The course begins with a review of seminal twentieth-century directors and established processes informing the making of work as outlined in The Cambridge Introduction to Theatre Directing (2013). Critical skills in research and performance analysis will be honed through performance viewings, archival research, and related critical writing tasks. This course depends on pair work and group work to test ideas and processes. Each student will direct extracts from the core or recommended performance texts, researching and planning their rehearsal process. Students will also perform in order to assist their peers’ directorial practice and to deepen their understanding of the role of the performer, which will also serve to further their understanding of directing. One of the two one-hour classes each week will be devoted to workshopping and practical exercises only. All set plays and performances should be read and/or viewed in advance of the class they are assigned for. Attendance and active contribution to all classes are essential. Assessment: Midterm performance analysis: 30% (750 words) DUE MON 18 Feb 17:00 Directing of Extract: 30% (Final class) Critical Reflection: 40% (1000 words) DUE 4th May 17:00 Learning Outcomes

By the end of the course, a successful student will:

• Demonstrate detailed knowledge of major twentieth century directors, actor training techniques, and paradigms of staging in the western tradition.

• Critically analyse the selected case studies according to appropriate theoretical and theatrical frameworks.

• Submit a performance analysis report examining a selected performance. • Work independently and in groups. • Direct a play extract or devised piece working with performers through a

rehearsal process and research plan. • Complete a research-led critical reflection on the process of researching,

planning and executing their artistic vision for this extract as well as evaluating its potential for a full production in terms of character, place, definitive action, and scenography.

OUTLINE: Week 1 (15 & 17 Jan) Introduction & the Role of the Director: a Historical Overview This week will introduce the structure of the class and discuss the assessments. We will also discuss the evolution of the role of the director, and have an overview of the styles and directorial practice of major twentieth-century directors.

• Reading: ‘Introduction’ and Chapter 1 ‘Traditional Staging and the Evolution of the Director’ in The Cambridge Introduction to Theatre Directing by Christopher Innes and Maria Shevtsova. Cambridge: Cambridge UP, 2013, pp. 1 – 35.

• Chapter 2 ‘The Rise of the Modern Director’ in The Cambridge Introduction to Theatre Directing, pp. 36 – 74.

Week 2 (22 & 24 Jan): Directing Realism: Stanislavsky’s System in Practice This week we will focus on directorial choices and rehearsal methods that enhance the styles of realism and naturalism, using Ghosts as a core text.

• Reading: Ibsen, Henrik. Ghosts, trans. Frank McGuinness. (Drama Online) Please read full play.

• Carnickie in Hodge: “Ch. 1- Stanislavsky’s System: pathways for the actor”, pp. 11-37.

Week 3 (29 & 31 Jan): Physical Theatre: From Meyerhold to Anne Bogart This week, we will consider the history and performance aspects of physical theatre, using Anne Bogart’s directorial practice and training system as an example. Exercises of the training system of Viewpoints will be included in the workshop session.

• Reading: Chapter 1 – 13 in Bogart, Anne and Landau, Tina. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group, 2005, pp. 3 – 15.

Week 4 (5 & 7 Feb): Bertolt Brecht and Epic theatre This week we will discuss the work of Bertolt Brecht, and focus on directorial choices that enhance the style of Epic theatre, using Mother Courage as a core text.

• Reading: Thompson in Hodge: “Ch. 5- Brecht on actor training – on whose behalf do we act?” (pp. 98-112)

• Section on Bertolt Brecht from Chapter 4 ‘Epic Theatre Directors’ in The Cambridge Introduction to Theatre Directing by Christopher Innes and Maria Shevtsova. Cambridge: Cambridge UP, 2013, pp. 128 – 134.

Week 5 (12 & 14 Feb): Stage Space and Scenography: Max Reinhardt, Adolphe Applia and Edward Gordon Craig This week’s classes will focus on the work of three major twentieth century director-set designers, whose theories and practice helped to shape modern perceptions of performance space.

• Readings: Sections on Appia and Gordon Craig from Chapter 2 ‘The rise of the modern director’ in The Cambridge Introduction to Theatre Directing by Christopher Innes and Maria Shevtsova. Cambridge: Cambridge UP, 2013, pp. 56 – 62.

• Sections on Gordon Craig and Max Reinhardt from Chapter 5 ‘Total theatre: the director as auteur’ in The Cambridge Introduction to Theatre Directing by Christopher Innes and Maria Shevtsova. Cambridge: Cambridge UP, 2013, pp. 147 – 152.

Midterm performance analysis: 30% (750 words) DUE TUE 18 Feb 17:00 Week 6 (19 & 21 Feb): Ritual Theatre: Jerzy Grotowski and Eugenio Barba This week we will discuss different approaches to ritual theatre, examining the work of Jerzy Grotowski and Eugenio Barba.

• Reading: Sections on Grotowski and Barba from Chapter 7 ‘Directors, collaboration and improvisation’ in The Cambridge Introduction to Theatre Directing by Christopher Innes and Maria Shevtsova. Cambridge: Cambridge UP, 2013, pp. 229 – 241.

Week 7 (26 & 28 Feb): Ensemble Theatre: Peter Brook and the Royal Shakespeare Company This week we will consider the working method of ensemble theatre, using Peter Brook’s directorial practice as an example. We will be using Shakespeare’s A Midsummer Night’s Dream as a core text.

• Reading: Section on ensemble theatre and Peter Brook from Chapter 6 ‘Directors of ensemble theatre’ in The Cambridge Introduction to Theatre Directing by Christopher Innes and Maria Shevtsova. Cambridge: Cambridge UP, 2013, pp. 185 – 198.

• Shakespeare: A Midsummer Night’s Dream • Viewing: documentary or full production of RSC’s A Midsummer Night’s

Dream (1970) Week 8 (4 & 6 Mar): Collaborations: Caryl Churchill This week, we will touch on some approaches to collaboration, using Stafford-Clark’s collaboration with Caryl Churchill on Top Girls as an example. This week students will select their scene for the final production.

• Reading: Stafford-Clark, interview on directing Top Girls. • Caryl Churchill: Top Girls

Week 9 (11 & 13 March): Devised Theatre Performance This week’s classes will focus on the method of devising. Students will start working on their chosen work materials with methods of devised performance practice.

• Reading: Chapter 1 ‘An Introduction to Devised Theatre’ in Oddey, Anlyson. Devising Theatre: A Practical and Theoretical Handbook. London: Routledge, 1996. Pp. 1 – 24.

Week 10 (18 & 20 March): Inspiration and documentation in the archives This week students will visit the archives and consider how the lineage of performance develops over time. What remains of a director’s work? How can we evaluate others’ work and our own?

• Reading: Carlson, chapter “The Haunted Production”, pp. 100-110 Week 11 (25 & 27 March) Rehearsals and workshopping This week, students will provide feedback for each other’s scenes and workshop these scenes in preparation for the final performance. Week 12 (1 & 3 April) Scene showings Performance assessments. Actors will perform off-book.

Required readings: Core texts: Brecht, Bertolt, Mother Courage. (Drama Online) Churchill, Caryl. Top Girls. (Drama Online) Ibsen, Henrik. Ghosts, trans. Frank McGuinness. (Drama Online) Shakespeare, William. A Midsummer Night’s Dream. (Drama Online) Excerpts from the following: Carlson, Marvin. The Haunted Stage: The Theatre as Memory Machine. Ann Arbor: Michigan UP, 2001. (NUI Galway Library) Hodge, Alison. Twentieth Century Actor Training. London: Routledge 2000. (NUI Galway Library) Innes, Christopher and Shevtsova, Maria. The Cambridge Introduction to Theatre Directing. Cambridge UP, 2013. (NUI Galway Library online access) Oddey, Anlyson. Devising Theatre: A Practical and Theoretical Handbook. London: Routledge, 1996.

Stafford-Clark, Max. “Directing Top Girls”. 2017. (https://www.bl.uk/20th-century-literature/articles/directing-top-girls-an-interview-with-max-stafford-clark) Recommended readings: Angelaki, Vicky. Ed. Contemporary British Theatre: Breaking New Ground. London and New York: Palgrave, 2013 Aston, Elaine. “On Collaboration: ‘Not Ordinary, Not Safe’”. The Cambridge Companion to Caryl Churchill. Aston, Elaine (ed.). Cambridge; New York. P. 144-162. 2009 Bogart, Anne. A Director Prepares: Seven Essays on Art and Theatre. London: Routledge, 2001. (NUI Galway Library online access) Bogart, Anne and Landau, Tina. The Viewpoints Book: A Practical Guide to Viewpoints and Composition. New York: Theatre Communications Group, 2005. Brecht, Bertolt. Brecht on Theatre: The Development of An Aesthetic. New York: Hill & Wang, 1977. Brook, Peter, The Empty Space, (London: MacGibbon and Kee, 1968), Grotowski, Jerzy. Towards A Poor Theatre. Eugenio Barba, ed. New York: Routledge, 2002. Print. Marowitz, Charles. Directing the Action: acting and directing in the contemporary theatre. Milwaukee, Hal Leonard Corp., 1986. Merlin, Bella. Konstantin Stanislavsky, Routledge Performance Practitioners (London Routledge, 2003) Meyerhold on Theatre, edited by Edward Braun, (London : Eyre Methuen, 1978) Milling, Jane. Modern theories of performance: from Stanislavski to Boal. New York: Palgrave, 2001 Mitter, Schomit. Ed. 50 Key Theatre Directors. London: Routledge, 2005 Panet, Brigid. Essential Acting: a practical handbook for actors, teachers, and directors. London, NY, Routledge, 2015 J.L Styan, Modern Drama in Theory and Practice 3: Realism and Naturalism (Cambridge: CUP, 1991) Schneider, Rebecca and Cody, Gabrielle Eds. Re: Direction: A Theoretical and Practical Guide. New York: Routledge, 2002. Stanislavski, Konstantin. An Actor Prepares. London: Methuen, 1988

OPTION 3 DT2113: The Practice and Exploration of the Creative Arts (S1) Module Creator: Mary McPartlan Co-Convenors Mary McPartlan and Dr. Barry Houlihan The Module Description: This 12-week module will offer students a distinctive and exciting opportunity to access the creative arts through a series of lunchtime concerts featuring world-class performers in an array of multi-disciplinary art forms. The concert sessions will be followed by focuses talks, workshops, and lectures with guest artists and expert academic and archival staff. Students will experience national and international culture, engage with artists, form exclusive and informed critical insights from the creative presentations and receive hands-on instruction in how creative arts are researched, designed, and produced. Students will be supported by teaching and skills development in archival research in the creative arts with workshops and talks on unique collections from the Archives of the Hardiman Library, from the Archives of Druid Theatre, Jean Ritchie, The Abbey Theatre, Tim Robinson, Etienne Rynne and more. Accomplished, professional visiting guest artists will collaborate in this offering to the students, to create a varied course of enquiry, fostering an environment where unique and original talent can emerge and flourish among students. Each week contact hours shall consist of two components: A. On a weekly basis the student shall compulsorily attend the programmed Arts in Action event, presented on that assigned day. This will be a 1-hour long performance. B. This will be followed immediately by the second hour of the lecture where students will meet with visiting artists, practitioners, and also conduct archival workshops. The second hour will take place in O'Donoghue Centre Seminar Room 1 (Studio 1) or to the Archives Seminar Room, Hardiman Library, Room 004. Students will be notified in advance each week of the correct venue. Learning Outcomes: On successful completion of this module, each student will be able to:

• Develop skills in creative self-development and disparate intellectual and artist interests

• Demonstrate proficiency in critical analysis of several artsfroms in written, oral format and presentation.

• Approach their own specific line of enquiry with creativity and rigour, via creative writing, theatre and playwriting, Music appreciation, Creativity - the Irish Language and its culture, (Music, Song, Poetry and Prose), History and Geography in relation to the landscape of Irish Culture.

Assessment:

There are two component/ assignments for assessment • A weekly reflective journal of not more than 500 words • A final essay of 1,000 words

You will complete 10 reflective reviews. (There are 13 Arts in Action Events in S1) The Essay and the completed Journals will be submitted on or before Friday December 6th 2019 at 5pm. Assessment of 100% 60% of total mark will be awarded for the reflective scholarly journal 40% of the total mark will be awarded for the essay of 1,000 words. Mary Mc Partlan Contact Details and Office Hours for enquiries and discussion Mary.mcpartlan@nuigalway.ie Tuesday morning 10am-12pm. Room 313, Floor 1, Tower Block 1. Dr. Barry Houlihan, Tuesday afternoon, 2.30-4.30pm THB-G005f (Archives Reading Room)